L’image institutionnelle du Romantisme portugais, souvent calquée sur la vision nationaliste des chefs de file de ce mouvement et tournée vers les textes innovateurs, est une image tronquée, partiale et figée. Combinant l’analyse socio-littéraire de quatre œuvres de fiction, représentatives des principales lignes d’affrontement de l’époque en termes de valeurs esthétiques et idéologiques, avec l’analyse historique des traductions, cette étude fait émerger les différents pôles constitutifs du champ littéraire portugais entre 1840 et 1860 et démontre sa complexité polyphonique. On y décèle ainsi, au niveau de “la littérature civique” (symboliquement dominante), incarnée par A Virgem da Polónia, de J.J.R. Bastos, et Eurico, O Presbítero, d’Alexandre Herculano, un conflit entre modèles sociaux et littéraires conservateurs et progressistes. Quant à A Mão do Finado, d’Alfredo Possolo Hogan, elle permet d’éclairer l’émergence de l’”industrialisme littéraire”. Enfin, Maria! Não me mates, que sou tua mãe!, de Camilo Castelo Branco, représente la pérennité de la littérature de colportage et pour son auteur le début d’une carrière de “professionnel des lettres”. La partie finale est consacrée à l’examen de la littérature traduite (raisons du succès ou de l’absence de certains auteurs) et de la méthode de nationalisation que Castilho lui appliqua afin de perpétuer l’ordre institué. / Modeled on the vision of the nationalist movement’s leaders and oriented towards the literary innovative texts, the institutional image of the Portugese Romanticism is a distorted, partial and a static one. Combining the socio-literary analysis of four works of fiction, representative of the main lines of confrontation both for their aesthetic and ideological values, and the historical analysis of book translations, this study brings to the foreground the various constituent poles of the Portuguese literary field between 1840 and 1860 and shows its polyphonic complexity. A conflict between social models and literary conservatives and progressives is therefore depicted through the « civic literature » (symbolically dominant) and incarnated by A Virgem da Polónia, by J.J.R.Bastos, and Eurico, O Presbitero, by Alexandre Herculano. As for A Mão do Finado, by Alfredo Possolo Hogan, it sheds light on the emergence of the “literary industrialism”. Finally, Maria! Não me mates, que sou tua mãe!, by Camilo Castelo Branco, represents the sustainability of the chapbooks and for its author the beginning of a career of «professional of letters». The last section is devoted to the consideration of translated literature (reasons for success or absence of some authors) and the method of nationalization that Castilho applied to it in order to perpetuate the established order.

Le travail de recherche a été articulé autour de trois axes principaux : la lecture philologique et sémantique de l’œuvre de Ippolito Nievo étroitement associée à l’étude de la bibliographie critique ; lʼhypothèse raisonnée de l’existence fondamentale, dans la structure même de lʼœuvre, du principe humoristique et lʼétude systématique de sa problématisation théorique ; le repérage et lʼutilisation méthodique des instruments d’analyse les plus appropriés à une analyse de lʼœuvre articulée sur ces choix. Sʼagissant de la réflexion théorique sur la notion même dʼhumour, elle a démarré sur la base des trente premières années du XXe siècle avec les fameux travaux de Freud, de Bergson et de Pirandello. Par ailleurs, à travers les considérations de Francesco Orlando et de Tzvetan Todorov, l’approche freudienne a été reliée à la linguistique structurale et à la néo-rhétorique de Chaïm Perelman et de Lucie Olbrechts-Tyteca. Ainsi, l’analyse du premier chapitre des Confessioni a permis dʼétablir une fonction argumentative des phénomènes formels et fondamentaux reconductibles à la notion d’humour et de dégager avec netteté l’importance stratégique de cette partie fondamentale du roman à cause de la présence d’une sorte de koinè qui se manifeste ici presque sans solution de continuité, mais se retrouve cependant dans l’œuvre entière. / This research articulates three main axes: a philological and semantic reading of Ippolito Nievo’s work, which is strictly associated with the study of the critical bibliography; the reasoned hypothesis of the fundamental existence of the humourous principle in the novel’s own structure and the systematic study of its theoretical problematisation; and, the location and methodical use of the most appropriate analytical instruments for an analysis of the novel based on these choices. Theoretical thought about the very notion of humor began during the first thirty years of the 20th century with Freud, Bergson and Pirandello’s renowned studies. What’s more, Francesco Orlando and Tzvetan Todorov’s arguments linked the Freudian perspective to structural linguistics as well as to Chaïm Perelman and Lucie Olbrechts-Tyteca’s neo-rhetorics. Thus, the analysis of the first chapter of Confessioni establishes an argumentative function of the notion of humor’s formal and fundamental phenomena. It also clearly reveals the strategic relevance of this fundamental section of the novel through the presence of a sort of koinè that becomes evidently manifest during the first chapter, but it also appears throughout the entire work.

In Portugal, as in other countries, a common characteristic of many of the novels published in the past twenty years is the recourse to a repertoire of literary devices that recall those of the historical novel.                 On the basis of critical studies published in the 1990’s, and in particular Fernández Prieto’s Poética de la Novela Histórica, this thesis undertakes a study of the Portuguese historical novel with the aim of defining, to the extent possible, the limits of this literary genre, and to examine in detail some of its intrinsic—and pertinent—semantic and pragmatic traits: the setting of a fictional narrative in the past, the introduction of historical persons and events and, not the least, the transtextual relationship between the fictional and the historiographic text.        Special attention is given to some of the more innovative forms of the contemporary historical novel, to highlight how by emphasising certain generic traits —that refer to the reader’s acquired knowledge— the author can compensate for the absence of others. Despite the inherent ”heterodoxy”, this device justifies grouping these novels under the general heading of the historical novel. The thesis explores the analogies between some of these innovative narrative strategies of the contemporary historical novel with transtextual practices characteristic of literature predating the 19th Century and by which a certain ”historical knowledge” is requisite for decoding the text. The thesis also establishes a set of generic traits that the historical novel shares with epic poetry. In light of these analogies, the thesis proposes a reading of Os Lusíadas as a historical poem. With this the author hopes to provide a contribution to a theory of historical fiction, understood as a genre encompassing, in addition to the novel, all forms of fictionalisation that rely on the historical discourse. © Mauro Cavaliere                                           ISBN  91-7265-442-2

Negli ultimi anni l’autore americano John Edward Williams (1922-1994) è stato riscoperto grazie all’incredibile successo del suo terzo romanzo, "Stoner" (1965), ripubblicato negli Stati Uniti nel 2006 e apparso in Europa tra il 2009 e il 2013. Per molto tempo Williams era stato uno scrittore poco considerato dal pubblico e dalla critica perché la sua prosa misurata ed elegante era in controtendenza rispetto alle forme dominanti nella letteratura americana della seconda metà del Novecento. Oggi egli è apprezzato soprattutto come maestro di stile, ma l’analisi dei suoi tre romanzi principali ("Butcher’s Crossing", "Stoner", "Augustus") rivela anche altri aspetti originali della sua opera. Innanzitutto, Williams sfida le rappresentazioni egemoniche dell’eroismo americano: i suoi protagonisti sono, infatti, caratterizzati dalla capacità di sopportazione, dalla pazienza e dal senso di responsabilità verso il loro lavoro. Inoltre, egli si distanzia dalle narrazioni trionfalistiche della storia statunitense: tracciando la parabola discente dell’impero americano dalla fine dell’Ottocento fino al secondo dopoguerra, i suoi romanzi mostrano come una nazione fondata sulla conquista, la distruzione e le disuguaglianze sociali sia destinata all’autodistruzione. Nel primo capitolo di questa tesi viene tratteggiata la carriera di Williams come romanziere, accademico, critico e poeta, esaminando le sue posizioni letterarie nel contesto culturale degli anni Sessanta e Settanta. I tre capitolo successivi sono invece dedicati a "Butcher’s Crossing" (1960), "Stoner" e "Augustus" (1972), analizzati in relazione ai loro sottogeneri (western, "academic novel" e romanzo storico) e ad alcuni temi che emergono nell’opera di Williams (la relazione tra l’uomo e la natura, l’eredità puritana, la raffigurazione dei personaggi femminili). / In recent years, the American author John Edward Williams (1922–1994) has been rediscovered, thanks to the incredible success of his third novel, "Stoner" (1965), which was republished in the United States in 2006 and appeared in Europe between 2009 and 2013. For a long time, Williams had been neglected as a writer because his restrained and elegant prose was antithetical to the dominant forms of late-twentieth-century American literature. Today he is considered a master of style, but an analysis of his three major novels ("Butcher’s Crossing", "Stoner", and "Augustus") reveals other original elements in his fiction. First, Williams challenges hegemonic representations of American heroism: his protagonists are characterized by endurance, patience, and a sense of responsibility to their jobs. Moreover, Williams distances himself from triumphalist narrations of American history: tracing the descending parable of the American empire from the end of the nineteenth century to the second half of the twentieth century, his novels show that a nation founded on violence, conquest, and social contradictions is bound to destroy itself. In the first chapter of this thesis, I trace Williams’s career as a novelist, academic, critic, and poet, examining his literary positions in the cultural context of the sixties and seventies. The study then proceeds by analyzing "Butcher’s Crossing" (1960), "Stoner", and "Augustus" (1972) in relation to their subgenres (Western, academic novel, and historical novel) and some themes that emerge in Williams’s writing (the relationship between man and nature, the American Puritan heritage, and the representation of female characters).

Peggy Froeses Aufsatz, „Risiko und Vertrauen im historischen Roman um 1850: am Beispiel von Louise Otto-Peters Nürnberg“, fokussiert in diachroner Perspektive und im interdisziplinären Rekurs auf soziologische Risiko-Theoreme von Niklas Luhmann die beiden Relationen Risiko und Vertrauen sowie Risiko und Gefahr. Im Zentrum stehen dabei die fiktionalen Differenzkonstruktionen männlichen und weiblichen Risikoverhaltens, welche die politisch exponierteste bürgerliche Emanzipationsschriftstellerin Louise Otto-Peters aus der historischen Position ihrer ebenso geschlechtersegregierten wie fortschritts-, rationalitäts- und risikoaffinen Gegenwart heraus für die historische Vergangenheit um 1500 entwirft. Die Analyse signifikanter vertrauensmarkierter Risikohandlungen und -reflexionen zeigt, dass der Text die neue, sich formierende Risikomentalität in unhistorisch projektiver und affirmatorischer Weise zum konstitutiven Charakterisierungsmerkmal aller seiner Figuren macht, genderstereotype Attribuierungen des zeitgenössischen Risiko-Diskurses dabei aber kritisch ausdifferenziert und korrigiert.

The paper analyses Hilary Mantel’s novel Bring Up the Bodies in terms of how it might correlate with the notion of Russian patriotism. The origin for the research lies in the official list of literature recommended for patriotic education in Russia that was compiled in late 2015 and is thus immediately connected with the surge of state-driven patriotism in the country following the 2014 annexation of Crimea. Bring Up the Bodies is among very few contemporary historical novels by non-Russian authors included in the list. The conducted analysis reveals certain features in the novel’s protagonist and his behaviour that might correspond with the understanding of patriotism and citizenship in Russians. Moreover, the paper argues that legal pragmatism practiced by the protagonist, as well as the very style of historical representation in the novel, that re-evaluates the historical figure of Cromwell and undermines subjectivity of the historical past, may be seen as legitimising contemporary politics in Russia by way of establishing a “tradition.”

В диссертации рассмотрена динамика образа героя и времени в русских исторических романах XIX века. На изображение героя и времени влияет историческая концепция автора. Историческое повествование включается в контекст вечных тем и проблем. Это сближает исторический роман с философским. Такая тенденция нашла воплощение в историко-философской дилогии Вс. С. Соловьева «Волхвы» и «Великий Розенкрейцер». / The dissertation examines the dynamics of the image of the hero and time in Russian historical novels of the 19th century. The historical concept of the author influences the image of the hero and time. Historical narrative is included in the context of eternal themes and problems. This brings the historical novel closer to the philosophical one. This trend was embodied in the historical and philosophical dilogy of Vs. S. Solovyov «Sorcerers» and «The Great Rosicrucian».

Made available in DSpace on 2017-07-10T18:56:26Z (GMT). No. of bitstreams: 1 Bernardo Gasparotto.pdf: 1252076 bytes, checksum: 30ee9e02841cc8298727a2453b383ec4 (MD5) Previous issue date: 2011-02-28 / Basing itself upon the assumptions of Compared Literature, the present research aims to demonstrate that the dialogical relations established between the Spanish and the Hispano-American literature, when referred to the productions that handle with the theme of the discovery of America, after the publication of Vigilia del Almirante (1992), by the Paraguayan writer Augusto Roa Bastos. Such work reveals itself as a sort of synthesis of the Hispano-American vision about the theme, working like a parting of the waters when it comes to the production of historical novels, being produced from it, in the context of the discovery poetics, only mediation contemporary historical novels. This happens also in Spain, that for the first time, within this context, presents a work that deals with a distinct perspective from the one traditionally adopted by Spanish authors, promoting the dialogue with the Hispano- American literature. This is the novel Carta del fin del mundo (1998), by Jose Manuel Fajardo, a narrative that presents a discourse that seeks to reveal a new aspect of the meeting between both worlds under the perspective of the colonized. Parting from both works mentioned as corpus, the objective is, first of all, to destacate the apologetic discourse present in the Spanish productions, to, afterwards, approach the Hispano-American production of the theme initiated in the 70's decade of the 20th century to show that the modality of the new historical novel, synthesized in the work of Roa Bastos (1992), ended up influencing the productions about the discovery in European lands, that began to question not only the figure of Christopher Columbus, but also the whole discovery enterprise, establishing the dialogue with the Hispano-American tradition. It will also be taken in consideration that the work by Fajardo (1998) does not characterize itself as an isolated manifestation of the Spanish literature, once one can also observed the publication of the trilogy La pérdida del paraíso (2002), by Jose Luis Muñoz that presents the same mediation tendencies, in the terms proposed by Fleck (2008). / Apoiando-se nos pressupostos da literatura comparada, a presente pesquisa busca demonstrar que relações dialógicas se estabeleceram entre a literatura espanhola e a hispano-americana, no que se refere às produções voltadas à temática do descobrimento da América, após a publicação de Vigilia del Almirante (1992), do escritor paraguaio Augusto Roa Bastos. Tal obra revela-se como uma espécie de síntese da visão hispano-americana sobre o tema, atuando como um divisor de águas em relação à produção de romances históricos, sendo que a partir dele produziram-se, no contexto da poética do descobrimento, quase somente romances históricos contemporâneos de mediação. Isso ocorre inclusive na Espanha, que pela primeira vez, dentro deste contexto, apresenta uma obra que trabalha com uma perspectiva distinta da tradicionalmente adotada pelos literatos espanhóis, promovendo o diálogo com a literatura hispano-americana. Trata-se do romance Carta del fin del mundo (1998), de Jose Manuel Fajardo, uma narrativa que apresenta um discurso que busca revelar uma nova faceta do encontro entre os dois mundos sob a perspectiva do colonizador. Partindo das duas obras mencionadas como corpus, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções espanholas, para, em seguida, ao abordar a produção hispanoamericana da temática iniciada na década de 70, do século XX mostrar que a modalidade do novo romance histórico, sintetizada na obra de Roa Bastos (1992), acabou influenciando as produções sobre o descobrimento em terras europeias, que passaram a questionar não somente a figura de Cristóvão Colombo, mas de toda empresa descobridora, possibilitando o diálogo com a tradição hispano-americana. Leva-se em consideração, ainda, que a obra de Fajardo (1998) não se caracteriza como uma manifestação isolada na literatura espanhola, uma vez que se dispõe também da trilogia La pérdida del paraíso (2002), de Jose Luis Muñoz, que apresenta a mesma tendência de mediação, nos termos propostos por Fleck (2008).

Ce mémoire propose une analyse du roman historique La Carthagénoise (Germán Espinosa, 1982). Ce roman porte sur l’échange des idées entre l’Amérique coloniale et l’Europe éclairée. L’invasion française au port caraïbe de Carthagène d’Indes en 1697 est l’événement historique qui déclenche sa trame. Cette œuvre littéraire effectue un parcours à travers deux espaces et périodes historiques – l’Amérique sous domination espagnole et l’Europe des Lumières – dans lesquels s’entrecroisent des personnages réels et fictionnels. L’analyse que propose le présent travail aborde en premier lieu les antécédents du roman historique en Amérique latine. Dans une deuxième partie, il se penche sur les stratégies narratives utilisées dans le roman d’Espinosa et sur l’impact éventuel de ces procédés sur la facette critique de l’œuvre. L’hypothèse centrale de ce travail est que la fiction historique contribue à une vision critique de l’histoire officielle et qu’elle propose une réflexion sur les causes de la stagnation épistémologique en Amérique latine ainsi que des processus historiques inachevés tels que la libération épistémologique et la consolidation des épistémologies émergentes suggérées par la théorie postcoloniale et la pensée décoloniale. Le roman montre également la naissance, la mise en œuvre et l’échec de ce projet de libération épistémologique mené par un personnage féminin. Ce projet vise à finir avec la marginalisation du savoir latino-américain plutôt qu’à sa décolonisation. Parmi les conclusions tirées par ce mémoire, il y a l’idée qu’en raison de la causalité historique de l’Amérique latine, telle que montrée par le roman, le moment n’est pas encore venu de l’avènement d’une libération culturelle qui permette la consolidation des épistémologies émergentes, dans la ligne de ce que suggèrent les études postcoloniales et la décolonialité. Une autre conclusion importante à mentionner est que l’évolution des idées est un processus historique dans lequel les courants idéologiques ne sont pas absolus et sont assujettis aux conjonctures sociales qui déterminent leur existence et permanence. / This dissertation proposes an analysis of the historical novel The Weaver of Crowns (Germán Espinosa, 1982). This novel deals with the exchange of ideas between colonial Latin America and the Europe of the Enlightenment. The French invasion of the Caribbean port of Cartagena de Indias in 1697 is the historical event that triggers the plot. The novel covers two geographical spaces and two historical periods – America under Spanish domination and Enlightened Europe – in which real and fictional characters interact. In a first step, this dissertation undertakes an analysis of the roots of the historic novel in Latin America. In a second step it examines narrative strategies used in Espinosa’s novel and the way they may influence the critical side of this work. The central hypothesis suggested by this dissertation is that historical fiction contributes a critical view of the official historiography of Latin America by showing its hidden or silenced sides. It offers a reflection on the causes of the epistemological stagnation in Latin America as well as the unresolved historical processes in Latin America such as its epistemological liberation and the consolidation of its emerging epistemologies as described by the postcolonial theory cited in this work. The novel also shows the emergence, development and failure of an epistemological liberation project undertaken by a female character. This liberation project is aimed at putting an end to the marginalization of the Latin American knowledge rather than decolonizing it. Among the conclusions drawn by this dissertation is the idea that because of the historical causality of Latin America, as presented by the novel, the moment has not yet arrived for a cultural and epistemological liberation. This pending process would allow the consolidation of the emerging epistemologies along the lines proposed by the postcolonial and decoloniality studies. Another conclusion of note is that the evolution of ideas is a historical process in which the ideological currents are not absolute but subjected to the social situations that determine their existence as well as their continuity. / La memoria propone un análisis de la novela histórica La tejedora de coronas (Germán Espinosa, 1982). Esta novela trata del intercambio de ideas entre la América colonial y la Europa del Iluminismo y desarrolla su trama a partir del asedio francés al puerto caribeño de Cartagena de Indias acaecido en el año 1697. La novela hace un recorrido por dos períodos históricos, – la América española y la Europa de las luces –, en los que entrelaza personajes reales y de ficción. Este trabajo plantea un análisis que aborda en primer lugar los antecedentes de la novela histórica en América Latina, propone seguidamente una aproximación a algunas estrategias narrativas utilizadas en la novela y su posible injerencia en la faceta crítica de la misma. La hipótesis central que se defiende es que la ficción histórica propone una visión crítica de la historia oficial y una reflexión sobre la dialéctica histórica de las causas del estancamiento epistemológico de América Latina. Igualmente, señala los procesos históricos inconclusos en América, como su liberación epistemológica y la consolidación de sus epistemologías emergentes de las cuales hablan el postcolonialismo y el pensamiento descolonial. De igual modo, la novela muestra el surgimiento, la puesta en obra y el fracaso de un proyecto de liberación epistemológica, llevado a cabo por un personaje femenino. Este proyecto apunta más a una desmarginalización que a una descolonización del saber americano. Entre las conclusiones que arroja el trabajo se podrían mencionar, entre otras, que, debido a la causalidad histórica de América Latina planteada por la novela, está pendiente por realizarse una liberación cultural, que permita la consolidación de las epistemologías emergentes tal como lo señalan los estudios postcoloniales y la decolonialidad. Otra conclusión significativa obtenida es que la novela defiende la posición según la cual la evolución de las ideas es un proceso histórico en el cual las corrientes ideológicas no son absolutas y están sujetas a las coyunturas sociales que determinan su vigencia y permanencia.

Etre témoin de son temps, transmettre la connaissance du passé et restituer le lien entre un présent et un passé rompu par un grand événement tel que la Révolution est un travail auquel s’est astreint Mme de Genlis pendant plus de la moitié de sa vie. Dans ses romans comme dans ses contes et ses Mémoires, la notion de temps et d’histoire se développe dans le récit à travers les thèmes abordés et crée la forme narrative. L’articulation des différents niveaux temporels est encore plus sensible dans les romans historiques étudiés : Mademoiselle de Clermont, La Duchesse de La Vallière, Madame de Maintenon, Mademoiselle de La Fayette, Jeanne de France et Inès de Castro. L’hypothèse est de mettre en évidence, sur la base de la « référence croisée » telle que définie par Paul Ricoeur, « la fiction emprunterait autant à l’histoire que l’histoire emprunte à la fiction ». Madame de Genlis la romancière nous entraîne dans des époques révolues plus ou moins proches, en suivant le destin d’une héroïne englobé dans un temps plus ample, celui de l’Histoire. La conviction de l’auteur étant que le roman historique est la forme de roman la plus favorable au développement des conceptions morales, c’est une véritable étude du coeur humain et des moeurs d’une époque qui sont proposées dans ces romans. La vie de cour met à nu, à travers le comportement des courtisans, les passions, les vertus et les vices des hommes. Mme de Genlis la narratrice construit des structures narratives où, par un jeu subtil entre le temps du raconter et le temps du raconté, se succèdent narration au passé et commentaire au présent ; récit cadre et récit enchâssé. Le sujet des six romans est emprunté à l’Histoire sur lequel vient se superposer un temps historique plus récent, échappant parfois inconsciemment à l’auteur. C’est le temps de l’univers mental de Mme de Genlis, reflet des préoccupations de son temps : le rapport des femmes au pouvoir, la liberté de choisir son mari, la tentation du couvent, le bonheur dans la vertu. Malgré l’adjectif « historique », ses romans racontent un passé glorifié mais restent tendus vers le présent. / To be a witness of one’s era, to transmit the knowledge of the past and to restore the bond between a present and a past broken by a great event such as the French Revolution is a work to which Mme de Genlis devoted more than half of her life. In her novels as in her tales and her Memoirs, the notion of time and history develops in the narrative through the topics approached and creates the narrative form. The articulation of the various temporal levels is even more sensitive in the historical novels: Miss de Clermont, The Duchess of The Vallière, Madam de Maintenon, Miss of The La Fayette, Jeanne of France and Inès de Castro. The assumption is to bring to light, on the basis of the "cross reference" such as defined by Paul Ricoeur, " the fiction would borrow as much from history as history borrows from fiction " Mame de Genlis, the novelist, carries us away in bygone times that seem more or less close to us, we follow the destiny of a heroin encompassing a time much larger than her own, that of History. The conviction of the author is that the historical novel is the most favorable one to the development of moral concepts; it is a true study of the human heart and one time moral standards which are proposed in these novels. The life at court exposes, through the behavior of the courtiers, the passions, the virtues and the defects of Men. Mme de Genlis, the narrator, builds narrative structures where, by a subtle play between the time of telling and the time of what is told, follow one another narration of the past and comment at the present; a narrative framework and an embedded narrative. The subject of the six novels is borrowed from History on which are superimposed a more recent historical time, that sometimes unconsciously escapes from the author. It is the time of the mental universe of Mme de Genlis, a reflection of the concerns of her era: the women’s relation with power, the freedom to choose one’s husband, the temptation of the convent, and the happiness in virtue. In spite of the “historical” adjective that her novels do have since they tell the story of a glorified past yet they remain very much related to our present time.